AUGUST 18, 1997:
Exene Cervenkova (aka Cervenka), DJ Bonebrake (X) and Matt Freeman
(Operation Ivy, Rancid): the holy punk trinity--who knew? But
Auntie Christ, fronted by Cervenkova and currently marching their
way across the United States in support of their Lookout Records
debut, Life Could Be a Dream (incidentally, bassist Freeman
is not playing this leg of the tour due to Rancid duties), have
quickly made a name for themselves amidst a punk rock landscape
that has become rather saturated. Why are Auntie Christ standouts?
It certainly has much to do with Cervenkova's illustrious history
and star power, but more than that, Auntie Christ play music that
isn't just close to the real thing, it is the real thing.

Cervenkova is the woman who, some 20 years ago, gave us all a
reason to stop asking the question, "What is the role of
women in rock?" It was with the legendary, catalytic punk
band X, of course, that Cervenkova made her initial howl, starting
a ball that's still rolling. Wild Gift and Los Angeles,
arguably X's two best records, sent thousands of kids into the
stratosphere and hundreds of others off to their local music stores
to buy guitars and eventually form bands. X, along with bands
such as Dead Kennedys, the Ramones, JFA, the Nuns and a handful
of others, exemplified punk rock at its essence--raw and unabashed,
with an emphasis on individuality, the balls to take a stand and
the responsibility to speak out against a corporate-run government
operating behind the charade of freedom and democracy.

But as an in-touch cult following gradually became legions of
fans attracted to punk rock more for the uninhibited social atmosphere
it provided than to the political undertones that were its origin
and motivation, punk became as salable as a Big Mac. And as punk
rock began to wind down in the mid- to-late-'80s, so did X.

Following the initial breakup of X, Cervenkova made a string of
solo efforts that barely managed to bubble under, including her
collaboration with Blasters guitarist Dave Alvin in the underappreciated
country-laced project, The Knitters. A brief X reunion eventually
followed, but it soon became clear that Cervenkova and drummer
Bonebrake were destined for a different road.

Surprisingly, that road led to the formation of Auntie Christ--the
most X-like project since ... well, X. And hence an important
resurrection of the ethics and laurels that sparked West Coast
punk two decades ago. Weekly Alibi spoke with Cervenkova
last week about both the history of punk and its future and where
Auntie Christ fits in.

Do you think a lot of people in general are cynical about punk
rock?

They're not cynical about punk rock, they're cynical about something
they assume is punk rock. Punk rock was never exploited or ruined
or destroyed. Some of the original aspects we created--some of
the fashion aspects and the tattoos and some of the musical styles--have
been exploited, but the actual essence of punk rock, what it stands
for and especially what it stands against have never actually
been discovered by the public. So I'm not cynical about it.

According to you, what is the essence of punk rock?

According to me, and I should know, it's being an individual,
frankly. It goes past that, but just as far as the individual
carries it. If culture comes from up above you, from corporations
like it does now, and you're told what to wear, what drugs to
take, what computer to buy and how long to sit in front of it
like a zombie, then you're not an individual.

With much of modern music and pop culture being prepackaged,
and crammed down our throats, it has become increasingly difficult
to create one's own identity, even as an artist.

If you're making music and watching MTV, reading Rolling Stone
and Spin and paying close attention to what's on the radio,
then you're probably not an artist. Because an artist is someone
who can create in a void.

What role do politics play in punk rock and how vital is it?

Everything about it was political. We used to have songs about
the Hillside Strangler, Son of Sam and whatever mass murderers
were out there doing their antisociety thing--if punk rock was
happening now, there'd be songs about the Unabomber and that sort
of thing. It wasn't because we thought those people were heroes
but because it was a comment on the ills of society. But you don't
hear any songs on the radio about the Nike Corporation or about
NAFTA. I'm sort of in league with Jello Biafra these days--we're
sort of like political survivors. It's just amazing to us how
nonpolitical art has become. Especially music and especially with
the younger generation.

Being that the punk rock landscape has changed so much and
regardless of whether what's happening now is "real"
punk rock or not--the kids think it is, they say it is and they
buy the records--how can the punk scene, or punk itself, be revitalized?

Well, I think there are some real punk bands. I think Green Day
is more of a pop band in the same way that Nirvana was. But definitely
Rancid is, because they came out of a real working-class, desperate,
alcoholic world. They're purists and believe in it. It's just
if you believe in it or not. I know it when I see it. Punk can't
be spoiled by people who believe in it, can't be spoiled by fashion
designers and advertisers. It can't be spoiled by the kids, because
they love it. It can be revitalized by people becoming individuals
again and stop wearing what they're told to wear and acting like
they're told to act. A lot of people are being led around by their
nose rings. People shouldn't spend so much time reading magazines.
They shouldn't care what models are wearing. Who wants to be a
corporate slave?

Speaking of the media, are there any worthwhile publications
out there?

Yeah. Fairness and Accuracy in Reporting puts out a good publication
called Extra. They kind of police the news for lies and
they're saying that 18 corporations control all of the media in
the country--print and visual. So you see the same things in the
newspaper that you see on TV and in the movies. That's why you
get this homogenized culture where everyone likes all the same
stuff and says, "Gee, isn't it great how popular stuff is?"
But the choices are so limited.

What about zines and so-called alternative media?

There are some good zines. A lot of them are new to me, but there
are some really good ones. And Flipside is good on a national
level. Anything like Option that just tells you what's
out ... you know, if a kid's writing about you and they say, "This
is total shit. These people should be killed. It does sound like
the Ramones, though, for what it's worth," that's great,
that's a fine review. But when you have some pseudo-intellectual
writing for the New York Times describing why (a particular
record) doesn't have a cultural impact or why it does, then it
becomes useless.

What worries you most about today's music?

I'm worried about kids who are wandering around in their little
peasant outfits and nose rings and purple hair, thinking that
they're punk rock doing heroin and not knowing who I am and who
Jello (Biafra) is--not really knowing what the motivation was.
I feel bad for people who are lost.

What opportunities do you have with Auntie Christ that you
didn't have with X?

I think because I write all the songs and play guitar and sing
'em all, I have total freedom of expression. And that's really
beyond value. X was one of the greatest bands of all time, but
this is just fun for me, as an artist. Hopefully, I'll make some
revolutionary movement happen. But otherwise, it's really just
great to be in control.

I think everyone who hears Life Could Be a Dream is
impressed by your guitar work. Had you played much before Auntie
Christ was formed?

No. This band was in existence for six months when the album was
recorded. It was done in seven days, and I think it's just a really
good example of punk rock at work--you just pick up a guitar and
learn it. And you just write your songs and play. I think it's
easier than people think.

I guess it has a lot to do with how intimidated one is by the
instrument.

I was intimidated (by the guitar) for so many years, I can't tell
you. But guitar playing, of all the things I've ever done in the
arts, is the most plateau-oriented experience--you play for a
while and then you just don't improve and that happens a couple
of times and then suddenly it all falls into place.

What's the future of Auntie Christ? With Matt Freeman juggling
two bands, what's the plan?

Well, Matt is doing Rancid stuff right now, and what he wants
to do is come back and play guitar because he wants two guitars
in the band. And I think that's a really great idea because he
plays like Billy Zoom. What I would really like to do with this
band, if I get to do two or three tours, is know that each tour
is going to be really different. Maybe with different people.
Auntie Christ should be an ongoing thing that changes. We're playing
to intelligent people, and they can expect to be surprised and
challenged.